Hello, long time reader, first time poster. I went to Leonard's superb show at Wembley on the Saturday and have reviewed it for the blog of a friend of mine. If you're interested in reading it, you can do so here:http://littlefuryblog.wordpress.com/201 ... st-review/
If you take issue with any of it then feel free to tell me and I can amend, thank you

Leonard Cohen began with an apology for the switch of venue for his only two UK shows this year, from Hop Farm, in Kent, to Wembley Arena, declaring that he had only found out about the change at the same time as the rest of us. “There are unseen hands that guide the marketplace,” he said. “Hands that I never get to shake — or crush.”

Droll yet genuine, the comment was delivered with perfect timing — just like the show itself. Divided into two 90-minute sections, either of which would have constituted a substantial performance in its own right, the event was one of high emotion and superlative musicianship, presented with wit and unusual decorum. Cutting a svelte figure in a dark suit and trilby, Cohen made all his entrances and exits either trotting or skipping nimbly across the stage. Only his voice sounded old enough to match his 77 years as he navigated the subterranean melodies of Bird on the Wire and Sisters of Mercy, songs which inhabit the pop landscape like the chimes of a grandfather clock.

Songs of profound depth were tinged with an irrepressible air of mischief. Falling into a crouch at the feet of the 12-string Spanish guitarist Javier Mas to deliver the opening number Dance me to the End of Love, Cohen enunciated his wry, poetic lyrics with wonderful precision and clarity, while his band did likewise with their instruments and voices. It was the best sound I can recall hearing at this venue, contributing to a performance that reduced such a huge space to an intimate enclosure.

Cohen introduced and thanked the musicians, the sound technicians, even a stage-rigger by the name of Pants, with the same solemn air of regard. They responded in kind, particularly the Webb sisters, Charley and Hattie, and Sharon Robinson, the co-writer of many of his songs, whose voices provided an attractive counterweight for Cohen’s rumble. The chemistry between Robinson and Cohen when they sang In my Secret Life together was palpable.

A smattering of songs from his new album Old Ideas fitted seamlessly into the running order, particularly Amen, with its streak of biblical imagery. A closing sequence that included Hallelujah, Take This Waltz and an encore of First we Take Manhattan was a reminder of just how far and wide Cohen’s songs have travelled in popular culture, and what an uncompromising and unique performer he remains.

Leonard Cohen hit out at the organisers of his cancelled Hop Farm gigs, insisting the decision was made without consulting him.

The 77-year-old Canadian singer was due to play at the Hop Farm venue in Paddock Wood, Kent, on September 8 and 9 but it was announced last month that the concerts would be moved to Wembley Arena instead.

Leonard apologised to the crowd at Wembley on Sunday September 9 for the change of venue.

He added: “I want you to know I learned about it the same time you did. There are unseen hands that manipulate the marketplace. Hands that I never get to see, or crush.”

Referring to a line from his latest album Old Songs, Leonard said the decision had been made by “a lazy b****** living in a suit”.

A spokesman for Hop Farm revealed last month that they only learned about the move through a press release from Cohen’s agent and promoter, and were given no explanation.

The audience didn’t appear to blame the singer at all, as his performance was greeted with rapturous applause.

Leonard, who appeared sprightly as he skipped onto the stage, performed a string of old favourites including Suzanne, Hallelujah and So Long, Marianne.

Leonard Cohen hit out at the organisers of his cancelled Hop Farm gigs, insisting the decision was made without consulting him.

The 77-year-old Canadian singer was due to play at the Hop Farm venue in Paddock Wood, Kent, on September 8 and 9 but it was announced last month that the concerts would be moved to Wembley Arena instead.

Leonard apologised to the crowd at Wembley on Sunday September 9 for the change of venue.

He added: “I want you to know I learned about it the same time you did. There are unseen hands that manipulate the marketplace. Hands that I never get to see, or crush.”

Referring to a line from his latest album Old Songs, Leonard said the decision had been made by “a lazy b****** living in a suit”.

Funny how the dear old Express and Star (a local rag - here in the Midlands that is) manages to twist things. You can always rely on them. The actual quotes are correct but Leonard was pretty judicious in what he said. He didn't "slam" concert organisers, nor did he "hit out at the organisers of his cancelled Hop Farm gigs".

What superb reviews! Both Saturday & Sunday concerts were simply WONDERFUL!
I'd just like to thank Scott & Helen - the non-tipsy wife! for their efforts with the meet-up at the Green Man. The meeting was small but we appreciated the arrangements made on our behalf & it was good to meet friends old & new.
Jill

Funny how the dear old Express and Star (a local rag - here in the Midlands that is) manages to twist things. You can always rely on them. The actual quotes are correct but Leonard was pretty judicious in what he said. He didn't "slam" concert organisers, nor did he "hit out at the organisers of his cancelled Hop Farm gigs".

OK, so who do you think LC was pointing the finger at?

I guess it all started for me sometime around Christmas 1967 and now, goodness me, it's.........2017 and fifty years later.No one ever listens to me. I might as well be a Leonard Cohen record.Neil from The Young Ones

A wonderful evening on Saturday and a sufficient departure both in style and content from the recent tours to ensure that every song was as fresh and exciting as ever to hear, not that Leonard's music is ever otherwise. I took my girlfriend who, despite being an admirer for decades, more so of his earlier work, had never managed to see and hear him live and she was suitably impressed. Having been to a number of concerts over the years I thought that his voice was stronger than ever on Saturday but matched by his unbelievable enthusiasm and delight. Its difficult to choose highlights, althought seeing him emerge onto the stage at the beginning of a concert never fails to get to me. The new songs worked seamlessly into the play list but then the quality of his music has, apart from the Ladies Man era, never wavered. I always feel vunerable to Sisiters of Mercy, which I think was the first of his songs I ever heard, as well as Famous Blue Raincoat, but recently Alexandra Leaving has been a favourite reminding me of the duet on Take This Waltz ( both were quite beautiful) although to quibble it would be good if it had been sung by Leonard along with Sharon. Marianne turned into something special as althought the audience has often started to sing the chorus at the beginning of the song I don't recall them ever taking taking it over for its entiriety and I was caught up in it. Our very inadequate tribute to a great great man. I am fortunate enough to be going to Paris on 28th and it wil be interesting to hear him in a more intimate venue. All in all (apart from a few venue glitches) another magnificent night to remember.

I guess it all started for me sometime around Christmas 1967 and now, goodness me, it's.........2017 and fifty years later.No one ever listens to me. I might as well be a Leonard Cohen record.Neil from The Young Ones